Dean hangs up the phone, glances over at Sam searching the internet, beside him’s a picture of CHARLES MARTINS.

DEAN
How’s it coming?

SAM
It’s getting there, should be able to leave by tomorrow morning.

DEAN
Yeah? Well change of plans.

SAM
What? No, Dean, I have to do this. I have to fix what I did. I can’t live with myself without knowing I at least tried something.

DEAN
I get that Sam, that’s why you’re going.

SAM
And what are you doing?

DEAN
That was Kate, there’s this killer she wants me to help her track down. Think it might be our area of expertise and hunters aren’t exactly that wide spread anymore.

Sam nods, exhales, shuts off the laptop.

SAM
Okay, so, we go our separate ways, you deal with this and...

DEAN
Are you sure?

SAM
Yeah, positive. No problem.

Dean nods, he gathers his bags, moves for the exit.

SAM
Be safe, okay?

Dean stops, turns back to face his brother.

DEAN
You too.

Dean leaves. Sam looks back down towards the photograph.

EXT. APARTMENT COMPLEX - NIGHT

Police cars swarm around a run down apartment complex.

INT. APARTMENT COMPLEX - HALLS - NIGHT

POLICE OFFICERS roam the halls, conversing about the case. Dean and Kate walk past them, they notice the yellow crime scene tape ahead of them. They step over it and approach.

INT. APARTMENT COMPLEX - CRIME SCENE - NIGHT

The crime scene shows signs of a struggle. Blood is splattered across the walls. Dean takes in the area, he glances over to the side to see the dead body of a middle aged man. A look of pure terror is etched across his face. Glass in his eyes. Dean approaches, bends down.

DEAN
Whatever it was, it sure as hell scared the crap out of him.

KATE
That would match what our one witness who managed to get away said, looked like some kind of monster. Elongated black head with fangs.

DEAN
Doesn’t sound like any monster I’ve ever heard of.

KATE
Maybe it wasn’t a monster, what did Bellum say to you again?

DEAN
I’d really like to not remember it.

KATE
What did he say?

DEAN
That demons were the chosen ones, that there was going to be a new beginning.

Kate motions towards the words written on the wall in blood, the words “we are the chosen ones” barely discernible. Dean backs away.

DEAN (CONT’D)
That doesn’t make sense though, when was the last time a demon ever wrote anything?

KATE
I don’t know, never heard of it.

DEAN
You’re the cop, you’re missing one key piece of the puzzle. Look at the eyes Kate, glass.

KATE
Windows to the souls.

DEAN
No, he wanted whoever it was to see him. That isn’t demon behavior. We’re dealing with a guy, a guy who obviously thinks he’s the chosen one. Hey, maybe God had another son, another Jesus?

KATE
That’s not funny.

DEAN
Come on, just a little. Want to know what is funny?

Kate glances over at Dean.

DEAN (CONT’D)
To think I used to get harassed and looked down on for even drawing pictures of monsters and guns, now we’re living in the age that’s only monsters and guns.

Dean takes out his flask and guzzles it down. Kate frowns and shakes her head.

KATE
I don’t think that’s necessarily a smart thing to do when the world’s coming to an end. We need to be ready for anything.

DEAN
No, you’re absolutely right. This isn’t what should be done, but it’s what has to be done.

The Impala drives along the curving stretch of road, passing a classic town sign reading: LITTLE HOPE.

EXT. LITTLE HOPE - TOWN - DAY

The weather is beyond beautiful. Children play on a playground, supervised by their parents. Couples stroll by hand in hand. It’s a classic, small conventional town.

The Impala drives through, Sam looks out the window observing the sights around him. A smile spreads across his face. Hopeful.

EXT. LITTLE HOPE APARTMENTS - DAY

A brown-brick apartment complex, flowers in some of the windows. Children play outside skipping along chalked squares. Old women hang their clothes along a cord outside their windows.

INT. CHARLES’ APARTMENT - BEDROOM - DAY

CHARLES MARTIN, a handsome man in his late twenties, faces a mirror as he examines his dress suit and dress pants. He takes a tie and fastens it.

He leaves.

INT. CHARLE’S APARTMENT - MAIN - CONTINUOUS

The room is cluttered with certificates of commendation. Pictures of a happy family. Charles with his girlfriend STACY at a town fair. Charles walks through, he grabs his cell phone, briefcase and leaves.

INT. LITTLE HOPE APARTMENTS - HALLS - DAY

Charles closes his door, locks it. He passes through the halls. An ELDERLY WOMAN peeks her head out of her room.

ELDERLY WOMAN
I thought that was you Charles, sneaking off so soon?

Charles stops, turns to face her smiling.

CHARLES
You caught me Mrs. Humphrey.

ELDERLY WOMAN
Just wanted to thank you for fixing the leaky faucet yesterday, didn’t know what I’d do now that Hank isn’t around.

CHARLES
Least I can do.

ELDERLY WOMAN
Must have one busy day ahead of you, go on, go on.

Charles smirks.

CHARLES
Have a good day.

Charles leaves. Elderly Woman smiles.

ELDERLY WOMAN
Such a good boy.

Elderly Woman re-enters her apartment.

EXT. LITTLE HOPE APARTMENTS - MOMENTS LATER

Charles leaves the apartment complex. He notices the kids playing, then looks towards the sky. A RAINBOW forms in an awkward, wavy spiral. A beyond fascinating sight. The kids stop playing and look to the sky in awe.

EXT. LITTLE HOPE - TOWN - DAY

Sam walks along the streets, hands stuffed in his pockets, taking in the welcoming atmosphere of the small little town. He looks up towards the sky, seeing the rainbow. Taken off guard.

INT. PEACE SALES CORP. - CUBICLES - DAY

Charles walks through the office space with other workers hustling around on the job. He takes a seat at his cubicle, filled with more photographs of his family and girlfriend. One newspaper is tacked to the cubicle wall with the headline: MARTINS CUTS ANNUAL TOWN RIBBON.

Charles starts up his computer. A black screen, suddenly green text spreads across: I KNOW WHAT YOU ARE.

Charles stares at the words in horror, it cuts out as the computer boots up. Nobody else notices.

EXT. DINER - NIGHT

Cars drive through the busy city streets, kicking up rain from the gutters. A small diner rests on the curb, inside Dean and Kate can be seen sitting by the window.

INT. DINER - NIGHT

Dean stares down at his barely touched food. Kate notices.

KATE
Anything on your mind?

DEAN
Just Sammy, the last case really hit him hard. I’m worried about him.

KATE
There wasn’t anything you could have done.

DEAN
Yeah, yeah, I know. But, he’s been blaming himself for it, for everything Samuel did. I feel kind of guilty leaving him alone like I did.

KATE
Why did you?

DEAN
I don’t know, he thinks they can be saved, these freaks.

KATE
What do you think?

DEAN
How many were ever good? I know I’m generalizing, but come on Kate. Sam’s the only one on the road of the righteous and even he took a detour.

DEAN (CONT’D)
His name’s Charles Martin, Sam’s zeroing in on him. His power’s the ability to control hallucinations with his imagination.

KATE
What does this have to do with our case?

DEAN
I think that’s what we’re dealing with.

KATE
What? A mutant?

DEAN
Think about it. Chosen ones. Description that fits no monster we have ever heard of before. What if somehow he’s able to get inside our heads make us see things we don’t want to see? Make us afraid.

KATE
What’s the motive though?

DEAN
Getting rid of everyone he sees as below him. Wiping out humanity.

KATE
So, we’re looking for a mutant who controls fear on an ego trip?

DEAN
You have any better ideas?

Dean glances behind his back to see a news report showing signs of recent mutant activity.

CHARLES
Ever since I was young, I had the power to control my imagination. Make people see things.

STACY
You're just playing around, right? You're not a mutant. You're normal.

Charles exhales, he motions towards the sky. Stacy slowly looks up to see the clouds pushing in together to create the letters "nope." Stacy takes a step back, frightened. She looks at Charles, he simply nods.

STACY
You never hurt anyone did you?

CHARLES
You know me, I don't hurt people.

STAY
Know you? What are you going to tell me next? That you're an alien too?

CHARLES
I'm still me. That's the only thing I've ever hidden from you. But, I'm tired of running, I couldn't lie to you anymore.

STACY
Who else knows?

CHARLES
My parents, that’s all, with the atmosphere the world is in now...

Stacy exhales, mind racing, starting to ease up.

STACY
I understand.

Stacy takes a step towards him.

CHARLES
So you’re not afraid?

Stacy smiles, wipes the hair away from her eyes.

STACY
I'll learn to live with it.

Charles smiles, beyond relieved.

CHARLES
How did I get so lucky?

STACY
(Puts her fingers to her lips)
Shhh...

Charles and Stacy kiss. In the waters below them the lake currents form into hearts and couples embracing.

STACY
It's okay. How'd you first find out that--

CHARLES
I was different? It was an accident at first, just experimenting, seeing what I could do. How far I could go. Wanted to see if I could make other people see my imaginary friends. I still remember the look on my parent's face the first time they met Harold.

STACY
Harold?

CHARLES
A three foot tall, talking, walking dog.

Stacy suppresses her laughter, Charles shrugs it off.

CHARLES
I was a big Snoopy fan. Over the years, as I got older, I learned how to harness it, make more hallucinations and perceptions real. Even to the point where I could control the weather.

STACY
So the reason it’s sunny and nice every day...

CHARLES
Ever since I met you.

Stacy swoons, not knowing what to say. The exchange flirtatious smiles.

Charles walks off, turns the corner down a narrow alley. Sam follows him. Charles stops to face him, just out of reach from the passing civilians.

CHARLES
I didn't do anything wrong. You don’t think that I know I'm different? I know, I just don't let it effect my life. I don't hide from who I am.

SAM
You're hiding from them…

CHARLES
I won't do anything to them.

SAM
No, but if they found out who you really are…

CHARLES
They won't accept me?

SAM
Wouldn't be the first time.

CHARLES
So, what are you saying?

SAM
Come with me, leave this place before someone finds you. The government's already onto you and they'll be here, they'll drag you in.

CHARLES
Let them.

Charles continues on his way down the alley, Sam follows.

SAM
What?

CHARLES
I'd rather die myself, than die in fear. I'm not going to let their fear of what they don't understand impact my life. I have a life here, a girl.

SAM
Does she know who you are? What you can do?

CHARLES
And she accepts me. I'm happy here, I'm not running.

Charles stops to face Sam.

SAM
Who said it's running? It's surviving. What exactly did you think was going to happen? That you would settle down, marry her, start a family?

CHARLES
Why not?

SAM
It's not the time, things are starting to…

CHARLES
I know. I can see it. Everyone can. Why do you think everyone's afraid? The world's coming to an end. All I want is to be happy, act like there's nothing wrong.

SAM
But, that isn't real.

CHARLES
Well, it can be. It should be. I'm not going with you, I'm not going to hurt anyone. If they can't accept me for who I am, what I can do, then that's their problem - not mine. You shouldn't run either.

HOLDEN YUMA, a middle aged man, in a suit walks by on the streets. Homeless people clutter the area, begging him for money. Holden ignores them.

ERIC LITTLE, seventeen, watches on from across the street. Hands stuffed in his sweatshirt, eyes blazing red. Skin pale. Earphones plugged in from an I-POD blasting music.

His eyes track Holden, then narrow.

Holden walks through the streets. A HOMELESS MAN reaches out for him. Holden looks at the homeless man with wide eyes.

HOMELESS MAN
Do you have any money? Please help me.

Holden SHOVES him aside, he runs off. The Homeless Man hits the building hard. He rubs his bruise in pain. Holden stops and looks back at them.

HOMELESS MAN (CONT’D)
Good for nothing jack ass.

Holden rubs his eyes, continues on his way.

INT. APARTMENT COMPLEX - LOBBY - NIGHT

The apartment complex is cold and decrepit with WEALTHY OCCUPANTS gathered. Holden pushes his way past. The voices of the wealthy overwhelming. The lights overhead blink on and off.

WEALTHY OCCUPANTS (O.S.)
I heard that Holden killed someone... I heard that Holden molested boys... I heard that Holden raped a girl...

Holden quickly presses the CALL BUTTON for the elevator.

The elevator DINGS as it OPENS. Holden hurries inside and closes the door.

INT. APARTMENT COMPLEX - ELEVATOR - MOMENTS LATER

The lights in the elevator blink on and off. Water drips from the walls. The numbers rapidly count up and down. It shakes as though it’s going to plummet. Holden leans against the wall in fear. The doors open, Holden leaves.

INT. APARTMENT COMPLEX - HALLS - CONTINUOUS

Holden walks along the halls, shadows creep alongside him. One reaches out. Sweat drips down his face as Holden quickly enters his apartment.

INT. APARTMENT COMPLEX - HOLDEN’S APARTMENT - CONTINUOUS

Holden leans against the door then locks it. He quickly flips the lights on. Wipes the sweat away from his face and walks off.

INT. APARTMENT COMPLEX - BATHROOM - CONTINUOUS

Holden enters, he opens the mirror, grabs a bottle of pills. He swallows them then closes the mirror. He’s startled by a GROTESQUE REFLECTION of himself.

Holden closes his eyes, panicking. The lights dim, blinking on and off.

HOLDEN
This can’t be happening, this can’t be happening.

GROTESQUE REFLECTION
Can’t hide forever.

Suddenly, everything stops. Holden opens his eyes. He sighs in relief. Takes a deep breath, then laughs. He opens the door. Across from him is DECOMPOSED CORPSE of a young man with rotting flesh beyond recognition.

DECOMPOSED CORPSE
Who’s the monster now?

The decomposed corpse lunges for the attack. Holden SCREAMS IN FEAR!

INT. APARTMENT COMPLEX - HOLDEN’S APARTMENT - NIGHT

Police Officers swarm the scene. Dean and Kate inspect Holden’s body, glass in his eyes, words written in blood above him reading “you are the monsters.” Dean has difficulty maintaining his balance, slurring his words - drunk...

DEAN
Seems like he’s really letting the bad publicity get to him.

KATE
This isn’t a joke, people are dying.

DEAN
The whole world’s a joke now Katie, haven’t you read the papers? We are all alone on this.

Dean stumbles across the room, looking around at everything.

KATE
Have you been drinking?

Dean turns to face her, he smirks.

DEAN
You really want to know don’t you? Want to know every little detail of my so called life.

KATE
Whatever you’re hiding from, you can’t run forever.

Dean steps up to her. Confrontational.

DEAN
Who says I have anything to run from? People are, well, people are worthless. I mean, let’s face it.

The ghetto has gotten darker. Drug addicts are everywhere. Homeless people crowd around the streets. Cars are lit on fire. Dean and Kate walk through.

DEAN
What happened to this place?

KATE
People stopped caring. They gave up.

Dean looks around, partly guilty, he shrugs it off.

DEAN
So, you’re sure this is where the drugs are?

KATE
Positive. We’ve known for quite a while, but the paper work gets lost in the process.

DEAN
Why?

KATE
Why do you think? Ever since Six-Twenty-Six everything’s been going to hell, everything’s increased. Mass spree killings, satanist cults, serial killers, everything. That’s why we need you to remain sober. We can’t lose any of the good men we have left.

DEAN
I’m sorry. I didn’t mean, it’s just, there’s a lot.

KATE
I get it, really, I do. Whenever you want to talk I’m here, just don’t let it take over.

Dean and Kate enter down a back alley and walk down a small flight of stairs.

INT. DRUG STORE - CONTINUOUS

Drugs and junkies are everywhere. It’s drug utopia with packaged and home grown drugs of all varieties. At the back a DEALER sells weed to a teenage customer. The dealer notices Dean, he quickly sets in on them.

DEALER
Haven’t seen you here before my friend, what can I get you?

DEAN
I’m not here to use.

DEALER
You sure? Looks to me like you’re digging for a fix.

Dean produces the syringe out of his pocket.

DEAN
What is it?

The dealer takes it, examines it like it’s gold.

DEALER
The newest and best selling trip since the whole world went to hell. Welcome to exostrengomene, my friend.

KATE
What does it do?

DEALER
What? Zombie tripping?

DEAN
Zombie tripping?

DEALER
Makes you feel like one of the undead, you take this baby right here, kiss your fears of mortality bye-bye cause this makes the user feel invincible. Like nothing on this Earth can stop them. You can lift a car and not feel a thing, but its key component is agility, that's why one of it's street names is "the spider."

DEAN
You sell it here?

DEALER
It’s my top product, it’s a rare commodity. I have an exclusive on my turf.

KATE
Why would someone start using?

DEALER
Your kidding me? World's coming to an end lady. All one wants is to feel like they're in control. Some just want to forget.

DEAN
It makes you forget?

DEALER
The memories'll still be there, but all the pain and suffering related to em' - gone, forever.

The dealer fixes his eyes on Dean and grins, showing off his golden teeth.

KATE
Thanks for you help.

DEALER
Any time.

Kate takes Dean and drags him away, the Dealer checks Kate out as they leave.

Eric walks through the streets, eyes red, skin pale. His eyes dart around at the activity surrounding him agitated.

INT. DRUG STORE - MOMENTS LATER ("MEAN LITTLE TOWN" HOWLING DIABLOS)

The Dealer reclines in a chair, smoking weed. All of the customers are gone. Eric enters. The Dealer gets up.

DEALER
Eric, my main man, you here for more?

ERIC
Just give it to me.

DEALER
Wo, chill out man, I got it covered.

The Dealer takes several syringes out from a box, holds them out to him.

DEALER (CONT’D)
You got the money?

Eric digs into his pocket and hands the Dealer cash. The dealer counts it, stuffs it into his pockets.

DEALER (CONT’D)
Fraid’ it’s not enough.

ERIC
What are you talking about? It’s all there! Give it to me!

DEALER
Give me more money, then we’ll talk.

ERIC
I need my fix, now.

DEALER
I need my money, man. Go bother some other dealer.

ERIC
I don’t think so.

FEAR MODE
The room distorts. Dealer looks around frightened as the walls catch on fire.

DEALER
Oh man, that’s, oh crap man!

Eric smirks as his eyes go black and fangs form.

ERIC
Think again.

DEALER
You’re controlling this?

Eric shrugs it off.

ERIC
Now do you want to mess with me?

DEALER
You’re a freak, a monster!

NORMAL
The dealer backs away.

Eric threateningly corners him.

ERIC
Freak? Monster? Is that what I am? Are you so sure about that? Because you know what? That’s what my parents said, before they tried to lock me away. That’s what my girlfriend said before she called the cops! I’m not a monster! You’re the monster, you and your kind, you can’t accept anything you don’t understand.

DEALER
Please don’t hurt me.

ERIC
Hurt you? Hurt you? Try spending your whole life running from everyone because they’re afraid of you. Not because of something you did, but because of what you are! You think I wanted any of this? I was born this way! I just want to forget and you’re not letting me! You should have just given me what I wanted.

Dean and Kate are hunched over Kate’s computer watching security footage from the drug store. Eric confronting the dealer.

KATE
His name is Eric Little, seventeen years old. His parents tried to get him locked away in a mental institution ran by Holden Yuma under observation for some of it’s more recent unethical practices.

DEAN
Why’d they try to lock him away?

KATE
They said he was disturbed, that he scared them. That they thought something was wrong with him biologically but didn’t know what it was. Thing is, everyone else who knew him at the time reported him as being a happy normal kid.

DEAN
Until he turned on them.

KATE
Or they turned on him. Looks like Eric’s always been out for one thing, revenge.

DEAN
As I said, they all go bad. Yeah, he has a sob story, who doesn’t? Still doesn’t change what he is.

KATE
And what is that?

On the monitor, Eric plunges a knife into the Dealer.

INT. ABANDONED WAREHOUSE - NIGHT

Move through an old warehouse, decrypt and falling apart. Little light shines in from the streets below.

MAN’S VOICE
A monster, I can’t believe I could raise a son like you!

Eric crouches against the wall, shaking and trembling, tears flow down his face.

FLASH CUT TO:
INT. ERIC’S BEDROOM - NIGHT - FLASH BACK

The voice belongs to a tough and hard biting FATHER.

FATHER
Do you have any idea how much of a disappointment you are to me and your mother?

Eric stands before them, tears run down his face.

ERIC
Dad, please, I didn’t mean to. He was bothering me and I thought...

FATHER
You’d scare him? Make him see things? He’s in the hospital right now from shock. How could you even do that? That’s not right, ain’t human.

ERIC
What are you saying?

FATHER
We need to get you some serious help, I can’t even stand looking at you.

Eric reaches out to him. The father turns and leaves. Eric notices his MOTHER crying.

ERIC
Mom, please, don’t be afraid of me.

Eric’s mother walks away, leaving him alone.

INT. ASYLUM - NIGHT - FLASH BACK

Eric’s strapped to a medical gurney.

ERIC
Please let me go, I didn’t do anything wrong. I’m sorry.

Holden stands over him holding a syringe. The substance inside is yellow tinted.

ERIC
You called the cops? I thought I could trust you. I thought you’d understand. How could you do this to me? I thought you loved me.

KELLY
I’m sorry, but I just can’t do this.

ERIC
It’s because of what I am, isn’t it? What I can do. You’re afraid of me. They all are.

KELLY
You need help.

ERIC
I don’t need help, I don’t need anyone. I’m not the problem. You are. Why can’t you just accept me? Why do you have to be afraid?

The room is thrown into total darkness. Kelly screams.

INT. ABANDONED WAREHOUSE - RESUMING

Eric GRABS the syringe and PLUNGES it into his arm, he exhales relieved. Free. He grins and leans his head back in euphoria.

ERIC
I’m not a monster.

Eric smiles as he crouches against the corner trying to fall asleep. The drugs keeping him awake, energized. Eyes blood shot red. Pale skin with veins becoming more visible.

EXT. PARK - NIGHT

Charles lays on the grass leaning against a tree with Stacy wrapped in his arms. They watch as the stars dance in the night sky forming various shapes and patterns. Stacy turns to look at Charles concerned.

STACY
Is everything alright?

Charles exhales, looks away, not wanting to worry her. Stacy turns his head back to face her.

STACY (CONT’D)
You can tell me.

CHARLES
I don’t know how much longer I can stay here.

STACY
What do you mean?

CHARLES
There’s been these men following me around for the last couple of days. They know who I am, what I can do.

STACY
What did they want from you?

CHARLES
They wanted me to join them.

STACY
And?

CHARLES
And what? I’m not going to. Whatever they’re a part of, I don’t want... they said I didn’t have a choice though.

STACY
We should tell somebody.

CHARLES
Tell who? The government? They’d lock me away. The townspeople? They’d want me hanged. There’s no one I can turn to. No one we can trust.

STACY
How did it ever get this bad?

CHARLES
I don’t know...

Charles tightens his hold on her, supportive.

CHARLES (CONT’D)
Hey, don’t worry, I’ll figure something out.

Charles kisses her, they smile.

CHARLES (CONT’D)
Nothing’s going to happen, I promise.

They exchange smiles as a shooting star soars by overhead. Roscoe watches on from the shadows.

EXT. LITTLE HOPE - TOWN - NIGHT

Stacy walks through the town alone. She stops and turns, noticing she’s being followed. Roscoe holds a gun.

ROSCOE
You knew what he was.

STACY
Roscoe, what are you doing?

ROSCOE
You know what he is. Yet, you’re with him instead of someone from your own species.

STACY
It’s not like that.

Roscoe aims his gun, Stacy backs away afraid.

ROSCOE
No? Then how is it like? You’re a mutant lover. You’re a disgrace to everything it means to be human.

STACY
He’s not a monster.

ROSCOE
Yes, he is. You both are.

Roscoe’s finger tightens on the trigger.

EXT. BROOKLYN - DAY

A storm passes through, the THUNDER ROARS. Dean wanders around, he stops at a couple of USERS with a photograph of Eric. He shows them the picture, most of the users shake their heads. One user nods.

USER
Yeah, I’ve seen him around.

DEAN
Know where he hangs out?

USER
Seen him near that old abandoned warehouse three blocks over.

Dean nods, turns and leaves. His cell phone rings, he equips it.

INTER-CUT WITH:
EXT. LITTLE HOPE - TOWN - DAY

Sam walks through the town, rain pours from the gray skies above.

SAM
Dean, how’s everything going over there?

DEAN (O.C.)
Narrowing in our suspect.

SAM
What is it?

DEAN (O.C.)
Not really important, how’s everything on your end with Charles?

SAM
He doesn't want to leave, thinks he's better off here... I don’t know Dean, just something gives me a bad feeling, you know? Things have gotten darker around here, more gloomy.

DEAN (O.C.)
Think he’s responsible?

SAM
I don’t know. Maybe.

DEAN (O.C.)
Maybe he can’t be saved.

SAM
He’s not a bad guy.

DEAN (O.C.)
Just saying, you win some, you lose some.

SAM
Yeah, but what defines winning?

Dean exhales.

DEAN (O.C.)
No, idea, but I’ll see you later, alright Sam? Need to get to this.

SAM
Yeah, yeah, me too.

Sam hangs up, looks around, then continues on his way.

EXT. ABANDONED WAREHOUSE - NIGHT

Dean slowly approaches the warehouse, he tilts open the door and enters.

CROWD (ADD-LIBS)
I can’t believe we trusted you... You’re a monster... You’re not even human!

Roscoe paces around the crowd, hand on his rifle. Sam sneaks towards the back of the apartment complex.

INT. CHARLES’ APARTMENT - NIGHT

Charles watches on from the window. The door is kicked open, he turns to face Sam. He exhales, then looks away.

CHARLES
They killed her.

SAM
Killed who?

CHARLES
My girlfriend, she’s gone. They killed her because of me, because they found out and they didn’t like that a human was dating a mutant. You were right, it is the same old story, the same old song. It never changes.

Sam approaches the window and looks out.

INT. ABANDONED WAREHOUSE - ATTIC - NIGHT

Dean’s strapped to a chair. The canister of drugs off to the side. Eric watches over him, holding a knife in his hands. He observes Dean’s fake badge, shows it to him then tosses it aside.

ERIC
Who are you with?

DEAN
I’m with no one.

ERIC
No one? You don’t even know what that feels like.

Dean smirks.

DEAN
Give me your best shot.

ERIC
Try everyone turning their backs on you. Having no one left at all in the world because they’re all afraid of what you’ve become. Not being able to trust anyone, because they might try to send you away.

DEAN
Who can blame them? You’re a monster.

ERIC
Monster? Yes, now you’re catching on. That’s exactly what I am. I mean, my whole life that’s what everyone else has been telling me. Calling me. Freak. Mutant. Monster. But, you know what the funniest thing is? How you place that label on someone different than you rather than on yourselves.

DEAN
I’m normal.

ERIC
Normal? No one’s normal, just some were born different and because of that humans think they have a right to kick us out, to push us away, to lock us up. Not anymore.

DEAN
You’re killing people.

ERIC
You’re seriously going to take the moral high ground with me? You came here to kill me.

DEAN
Before anyone else can get hurt.

ERIC
You’re so blind. You really can’t see it, can you? No one can. No one ever will. Until their eyes are opened.

DEAN
That’s what this is all about? What do you think you can accomplish out of killing people?

ERIC
Fear. What is it they hope to achieve by killing us? Capturing others of our kind? Fear. I’m only using their weapon against them. Sooner or later, they’ll catch on. Fear is the strongest weapon of all, whoever has it, they hold the power.

DEAN
Still doesn’t make what you’re doing right.

ERIC
I’m surviving. This whole world is going to hell, in order to stay alive you need to do whatever’s necessary. Sometimes that means collateral damage.

DEAN
Listen to yourself, the ends justifies the means? Wake up, you’re talking about killing innocent people, for what? To prove a point?

ERIC
No one’s innocent. No one. It’s either us or you and I don’t want to die. Survival of the fittest and you’re kind, not so fit, not so strong, weak.

DEAN
You’re not even human.

ERIC
If there’s anyone that can take the credit for that it’s people like you.

DEAN
So, what are you going to do? Kill me?

ERIC
No.

FEAR MODE
The room shifts into a hell dimension, the appearance of Eric shifts into Samuel. Dean winces back afraid. Samuel leans in.

SAMUEL
I’m gonna open your eyes.

Samuel smirks.

INT. CHARLES’ APARTMENT - NIGHT

Charles looks out the window over the rioters gathering in the streets. Sam watches on, concerned.

CHARLES
You don’t think I know that? I know what they’re capable of, what they want to do. But, if no one stands up to them, no ever will. And I can’t hurt them, because nothing ever gets better with violence. It’ll just make them more afraid. If we want peace, it has start here.

SAM
You don’t have to do this.

CHARLES
Yes I do. I have a dream that someday our differences won’t matter. Not religion, not the color of our skin, not our sexual preference, not our backgrounds, not if we have powers or don’t have powers. That everyone will just be able to accept each other for who they are. Because if we lose that, if we lose what makes us individuals to just conform or hide away, we lose everything that makes us human. We’ll lose our humanity. And nothing can ever make me give that up, so I’m going out there because I’m not afraid. You shouldn’t be either. Because, we’re not monsters. We’re just different.

Charles moves towards the exit, Sam blocks him.

SAM
I can’t let you go out there, it’s suicide.

Charles moves past him.

CHARLES
You have to let me go, you have to let me try. It’s the only way.

His corpse hits the pavement. Dean turns to face Kate, eyes bloodshot. Kate looks up at Dean, at a loss. Dean stumbles back, takes in his environment.

DEAN
I... I thought he killed you. I...

Dean looks back down at Eric then at Kate. Kate sighs, stands and walks away.

DEAN (CONT’D)
Kate, wait!

Kate turns back to face him.

KATE
You really hate them, don’t you? But, I don’t think that’s all there is to this. Whatever this is, I just can’t deal with it. Not tonight.

Kate leaves. Dean exhales, he scans the area. Alone.

EXT. LITTLE HOPE - TOWN - NIGHT

Sam nears the Impala, he spots Alex leaning against the other side. He approaches with caution. Alex turns, grins.

ALEX
Brother, figured I’d see you here. Like the little lynch mob?

SAM
That was you.

ALEX
Who else? Charles was smart, clever, but he didn’t want to give in. He’d be hard to mold, usually we get lucky and find subjects easy to break.

SAM
And those you can’t, you kill?

Alex shrugs it off.

ALEX
You win some, you lose some. So, the big bad apocalypse is on it’s way and you can’t even stand toe to toe with your own family.

SAM
You’re not my family.

ALEX
Oh come on, now you’re just trying to hurt my feelings. You’ve been able to tap into some though, I mean, whether or not they’re intentional. But, you’ll never truly know what you’re capable of, because you don’t accept who you are.

SAM
And what’s that?

ALEX
The son of the devil, my brother, you should be with me. On my side, bringing in the new age. It’s really going to be quite the show.

SAM
I’d never join you.

ALEX
You’re loss, I’d say “I’ll kill you” right now, but unfortunately I was given strict orders not to. For the time being. They want to see how you fold under pressure.

Sam narrows his eyes, clenches his teeth.

ALEX
And judging by your reaction to the gory, blood thirsty mob, I’d say they’re just about right. There’s nothing human about you. You are a monster.

Charles’ dead body is attached to a chain linking to a car. Roscoe watches on with a wide grin spread across his face. “It’s easy if you try.” The car drives off, dragging the body along with it. The crowd cheers as they wave their banners, “DEATH TO ALL MUTANTS!”

EXT. LITTLE HOPE - STRETCH OF ROAD - NIGHT

The Impala leaves the town behind. Sam stares out the windshield, concentrating intensely. Trying to outrun the past. “Above us only sky.”

INT. ABANDONED WAREHOUSE - ATTIC - NIGHT

Dean approaches the canister of drugs, he opens it to find dozens of syringes inside all containing exostrengomene.

He snaps it shut, stands and leaves with the drugs. “Living for today.”

INT. ABANDONED WAREHOUSE - MAIN - NIGHT

Dean passes Eric’s dead body, neck snapped. He stops to look down at it, he smirks, then walks away.

INT. MILITARY BUNKER - POWERED BASE - NIGHT

Alex walks through the base, a smirk spreads across his face. He looks out over the mutants trapped and caged.

INT. HOTEL ROOM - NIGHT

Dean reclines on his bed flipping through the newspaper. The paper’s headline: ATTEMPTED POLITICAL ASSASSINATION.

Sam enters, looks over at Dean with sullen eyes. Dean doesn’t push the topic, he just nods and turns back to the paper. “Imagine all the people living life in peace.” Sam sits on the opposite bed staring off into space.

Both brothers together, but they couldn’t be more alone. “I hope some day you’ll join us.” Slowly pan back as we...

EXT. HOUSE - COUNTRYSIDE - DAY ("IT'S THE MOST WONDERFUL TIME OF THE YEAR" ANDY WILLIAMS)

An old, 1968 light blue Chevy Camero pulls up in the driveway outside a beautiful, two story white farmhouse set for Christmas. There is a light dusting of snow on the ground. SAM WINCHESTER steps out of the car, dressed casually. He removes the sunglasses he has been wearing and surveys the house before walking up to the porch and going to the front door.

INT. HOUSE - CONTINUOUS

Sam opens the door and pokes his head inside. He sets his car keys on the table in the hallway and looks at the inside of the house set with Christmas decorations.

It is a spacious farmhouse, with giant rooms and cathedral ceilings. A living room and the kitchen are the first immediate rooms we can see off of the entranceway. A long staircase descends down towards Sam near the door.

SAM
Honey! I’m home!

We can hear pattering of footsteps from upstairs and JESSICA appears, dressed in jeans and a casual shirt, fully alive and well!

JESS
Sam! You’re home early!

Jessica flies down the stairs and wraps her arms around Sam. He grins and ruffles her hair. We see rings on both their fingers.

SAM
Did you miss me?

JESS
Stop that! You’re messing up my hair!

SAM
They let me off from work early today.

JESS
“Let you off.” They can’t do that, Sam!

SAM
Okay, okay! I decided to come home early.

JESS
Well, I’m glad you did.

She grabs his hand and giggles as she leads him up the stairs.

Sam and Jessica continue on their way, passing a calendar on the wall that reads DECEMBER 2015. "They'll be scary ghost stories and tales of the glories of Christmases long, long ago."